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Perspective as Form and Medium and the Interplay of Proportion Systems and Perspective IV
Theatrum Mundi
man as spectacle for the gods
Pedro Caldern de la Barca named his 1635 work: El gran teatro del mundo (The Great Theater of the World)
The fascination with theater is apparent in the carefully staged paintings, the frequent use of the play within a play, the rhetoric of gesture in painting, the choreographed composition (choreia meaning dance in its ceremonial aspect and graphein meaning to write, to paint.)
The dialogue between painting and theater is as old as the first aesthetic treatises from antiquity.
[Created by Richard Beacham, University of Warwick, and the THEATRON Consortium, www.didaskalia.net/issues/vol5no1/beacham/postlude.html]
Roman wall paintings inspired by theatrical scenery. They show uses of stage dcor.
[Slide of Susan Bonvallet]
The Middle Ages The Quem quaeritis Trope The trope in this case was a musical arrangement of a set dialogue enacting a specific episode from the New Testament incorporated into the Easter Sunday liturgy. (The church liturgy, or order of service, was codified by Bishop Ethelwold about 925.) Three priests, with their albs, or vestments, over their heads played the parts of the three Marys approaching the sepulchre (represented by the church altar with the cross removed) to anoint the body of Christ. A fourth priest, playing the part of the angel guarding the tomb, asks them Whom do you seek? (Quem quaeritis? in Latin), and they reply that they are looking for Christ, whereupon the angel chants He is risen and the congregation then sings the Te Deum. This joyous occasion, following Good Friday and the forty days of Lent, was later dramatically enhanced, so it is supposed, by the addition of a playlet involving a comic interchange between the three Marys and a spice merchant at a stall in the church aisle. Over time, the church interior accommodated several stages, called mansions or in Latin loci [Anthony M. Watts,
www.southernct.edu/~watts/medieval_theatre.html]
Simultaneous staging was a distinctive characteristic of medieval theatre. Medieval plays were staged on a number of small "platforms, the performer and the audience (congregation) would move from one "platform" (or scene) to the next. The station, or mansion [as it came to be known in France], was the scenic structure used to locate the action of the play. Painters used the same basic concept.
macchina teatrale medioevale [medieval theatrical machinery] Domenico Ghirlandaio - The Annunciation, Firenze, church of S. Maria Novella , detail [diagram by Caterina Pirina]
Domenico Ghirlandaio
Sacred representation with multiple stage, scenery for the Valenciennes Mystery Play, 1547, by Hubert Cailleau [from www.britannica.com]
This early 16th century altarpiece from Lofta [Sweden] shows the Nativity of Jesus almost as figures on a theatre stage.
Tudor drama
Moral comedy
Morality figures
ELIZABETHAN PLAYHOUSES
An actor
An intriguing view of a stage comes from an embroidery from Hardwick Castle in England.
The Swan Theatre (1594-1596) reconstruction Blackfriars in London [image collected by Larry Wild]
The Almagro Theatre in Spain (near Madrid), a survival from the Renaissance period
Neoclassical stage with proscenium arch [from Paula S.Berggren et.al., photo Philip Greenspun]
Teatro Olimpico, Vicenza, with Vincenzo Scamozzis wooden sets [from Wikipedia]
Cardinal Richelieu and King Louis XIII and his Queen, in the Cardinals private theatre in 1641.
Inigo Jones designs for masques in the Stuart Court: a set design for Florimene and the design for the "House of Fame" from The Masque of Queens.
LAURENT de La HYRE 1605-56 Panthea, Cyrus, and Araspus, 1631-34 [the background looks like painted set backdrops]
Intermedi, the origins of Italian Melodramma (musical drama/opera): Forma di intrattenimento spettacolare, di origine italiana, basata su musica, ballo, canto, declamazione ed eseguita tra un atto e laltro di tragedie, commedie, favole pastorali e simili. [Form of entertainment based on music, dance, singing, declamation, performed between the acts of tragedies, comedies, pastoral fables and similar.] Bernardo Buontalenti, disegno for the second Intermedio of 1589, Biblioteca Nazionale Centrale, Firenze
Court ballet performed before Maximilian, Duke of Bavaria, in Vlasislav Hall, Prague Castle, in 1617.
Costume design for Alceste by Jean-Baptiste Lully : Pluto Louis XIV representing the sun
Commedia dellArte
Il Capitano
Arlecchino
The fourth wall is the imaginary invisible wall at the front of the stage. It is part of the suspension of disbelief and may be connected to exploitation of an audience's familiarity with the conventions. When an actor addresses the audience directly, it is called "Breaking the Fourth Wall."
Nicolas Poussin
Pontormo (Jacopo Carucci), Madonna and child with St Ann, St Sebastian, St Peter, St Benedict and the good thief, the figure on the right breaks the fourth wall
Breaking the Fourth Wall: El Greco (Domenikos Theotokopoulos), [in the three versions of the painting, the figure located on the left and wearing a suit of armour gazes out of the picture]
Mario Sironi
Mario Sironi
Andr Derain, stage set design for Fastes, 1933 Felice Casorati, stage set design for Didone e Enea
Andr Derain, costume sketch for a daughter of the devil in Que le diable l'emporte by Roland Petit, 1948
Andr Derain, costume sketch for Genevive de Brabant by Erik Satie, 1926 Andr Derain, costume sketch for the Fe des Fleurs in Les Songes
Juan Gris (Jose Victoriano Gonzalez), costumes for the ballet Les Tentations de la Bergre
Gino Severini, stage set design for Orazio Vecchis 1594 LAmfiparnaso Gino Severini, costume for Orazio Vecchis 1594 LAmfiparnaso
Hortus Deliciarum ("The Garden of Delights") by Harrad von Landsberg, in Strasbourg, dated AD 1170 [www.sagecraft.com]
Li Romans du Bon Roi Alixandre (The Romance of Alexander) which was written in 1338 and illuminated by Jehan de Grise in 1344 (Bodleian Library, Oxford)
The showman stands in front of the stage. He partly narrates and partly interacts with the puppets.
Frederic II of Hohenstaufen, miniature from his De Arte Venandi cum Avibus [art of hunting with birds]
A boar hunt
Matteo Giovannetti di Viterbo, Scenes of hunting and fishing, Palace of the Popes, Avignon
Matteo Giovannetti di Viterbo, Scenes of hunting and fishing, Palace of the Popes, Avignon
Medieval minstrels
Master of Engelbert of Nassau, a sung chain and ring dance (carole) within a garden corresponding to the locus amoenus and the hortus conclusus
Les entremets spectacles, Grandes Chroniques de France, 14th century Paris, Bibliotheque Nationale
Miniatures by the Limbourg brothers: Court Epiphany Banquet Court May Day
Stately Banquet, Histoire d'Olivier de Castille et d'Artus d'Algarbe, Paris, Bibliotheque Nationale
Tournament in 1473 Marriage of Bianca Maria Visconti and Francesco Sforza, 15th century miniature
Philip the Good, duke of Burgundy, being presented with a book by Bertrandon de la Broquire at the siege of Mussy l'Evque
Les Grandes Chroniques de France Dagobert visiting the construction site of Saint-Denis France, Poitiers, 15th century Artist : Robinet Testard Paris, Bibliothque nationale de France, Dpartement des manuscrits Franais 2609
Gentile Bellini, Procession in Piazza San Marco, 1496, Gallerie dellAccademia, Venice
Lucas Cranach the Elder (Kronach 1472-1553 Weimar) Stag Hunt of the Elector Frederick the Wise 1529 Wood H 80 cm, W 114 cm
Apollonio di Giovanni, Acrobats and jesters, 15th century, cassone detail, Ashmolean Museum, Oxford
Giorgio Vasari, Giostra in Piazza Santa Croce (Joust in Piazza Santa Croce), 1555-65, Palazzo Vecchio, Firenze
Miniature from the Ordine delle nozze di Costanzo Sforza e Camilla d'Aragona, Cod. Urb. Lat. 899
Allegorical wagons ( on the left, Apollo and the Muses confront the Furies.)
La Joyeuse et magnifique Entree de Monseigneur Francoys, Fils de France, ... Duc de Brabant, en sa tres renommee ville d'Anvers. C. Plantin: Antwerp (Belgium), 1582. [British Library]
Allegorical devices for the Parisian entry of Henry II on the 16th of June, 1549
Triumphal arch personifying the grandeur and prosperity of the Gallican past
Obelisk on the back of a rhinoceros and embodying all the glory of France
Queen Elizabeth, attended by Fame, and a Herald of Arms, riding in an elaborate chariot. Sir William Teshe, England 1570. British Library
Peasant Dance
Diego Rodrguez de Silva y Velzquez, 'Philip IV hunting Wild Boar ('La Tela Real')'
Gabriel Bella, Il gioco del calcio a Sant'Alvise (Ball playing at SantAlvise,) post 1779?
Dierick Bouts
-superimposition
-embedding
-split-screen
http://ingemedia.univ-tln.fr/formation/licence-multimedia-internet.html
Giovanni Bellini
Simon Marmion, Livin van Lathem, Willem Vrelant, The Hours of Mary of Burgundy, around1470-1480, a picture embedded within a picture
Maestro dellOsservanza
Fra Angelico
Sergei Eisenstein believed that montage (juxtaposing images by film editing) could have an impact not found in the individual images. Two or more images together create a "tertium quid" (third thing) that makes the whole greater than the sum of its individual images by means of macro / micro patterns and associations.
Byzantine Icon
Pisano workshop
Serra workshop
Francesc Serra
Fra Angelico (Guido di Pietro da Mugello), Cappella Niccolina, Palazzi Pontifici, Vatican
Pietro Lorenzetti, , frescos in the south transept of the Lower Church, San Francesco, Assisi
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Pietro Lorenzetti
Melchior Broederlam
Mario Sironi
Stefan Arteni
Byzantine Icon
Byzantine Icon
Master of Forl
Simone Martini
Retable de la passion, detail. Deposition. Norman workshop. 1520-1530. Muse des Antiquits, Rouen
Icon
Bernardo Martorell
Raffaello Sanzio
Byzantine mosaic
Tiziano Vecellio
Pseudomorphosis
The concept of pseudomorphosis, which describes a mineral having the characteristic outward form of another species, or the state of having, or the property of taking, a crystalline form unlike that which belongs to the species, is one that Oswald Spengler introduces as a way of explaining cultures. Specifically pseudomorphosis entails the appropriation of any deeply ingrained formal system for purposes different from those it was initially used for.
Russian Icon
Russian Icon
Russian Icons
Benedetto Antelami
Mario Sironi
Mario Sironi
Persian miniature
Henri Matisse
Henri Matisse
Henri Matisse
Painting Writing
AN EGYPTIAN PAINTING ON LINEN, c. 1st millennium BC: hieroglyphs and solar symbol
Roman mosaics
Juan Oliver
Jean Metzinger
Mario Sironi, Fiat 1900A, 1950 ca., bozzetto and poster 26.875" x 39.375, photo offset backed on linen
Sketch of the 'Tempio della Pittura' [temple of painting] according to the "Idea del Tempio della Pittura" by Giovanni Paolo Lomazzo, Milano 1584 [from RAI International Online Rinascimento]
Benedetto Gennari, Allegory of Painting (the angel on the right holds the Ouroboros, a snake swallowing its own tail, symbol of the cyclical Opus)
Now it must be seen that the stone thus brought under the artist's hand to the beauty of form is beautiful not as stonefor so the crude block would be as pleasantbut in virtue of the Form or Idea introduced by the art. This form is not in the material; it is in the designer before ever it enters the stone; and the artificer holds it not by his equipment of eyes and hands but by his participation in his art. The beauty, therefore, exists in a far higher state in the art; for it does not come over integrally into the work; that original beauty is not transferred; what comes over is a derivation and a minor: and even that shows itself upon the statue not integrally and with entire realization of intention but only in so far as it has subdued the resistance of the material. (Plotinus)
The Muse of Geometry, woodcut from Gregor Reisch, Margarita philosophica (Basel, 1536)
Pinturicchio (Bernardino di Betto), construction based on circles and armature of the rectangle [diagrams by Charles Bouleau]
Geometric artifice
In occult thinking, symbol, meaning, and real object are blended. Symbol participates in the nature of the referent either because it contains a part of it, or because it reproduces the likenesses, or simply because it carries its name, thus consenting the magical action to become explicit in the symbolic object, provoking a mutation of the reality. This translation assumes an even greater weight if it refers to a mathematic-geometric symbolism, considered to be, within the context of the various cultures, capable of reproducing the primary origin that underlies the apparent chaos of the actual art came to be interpreted as a representation of ideal forms and became the preferred path in the search for truth. (Angela Pintore, "Musical Symbolism in the Works of Leon Battista Alberti: from De re aedificatoria to the Rucellai Sepulchre", Nexus Network Journal, vol. 6 no. 2 (Autumn 2004), http://www.nexusjournal.com/Pintore.html)
Dosso Dossi, Allegory of Music (with allusions to the investigation of sound by Pythagoras and the origin of the musical ratios)
Pythagoras performing vibration experiments by hitting bells with a hammer, Boethius manuscript, 'Boethius, Pythagoras, Plato and Nichomachus,' from ca. 1130 (Cambridge, University Library Ii.3.12, fol. 61v)
[www.jcsparks.com/painted/boethius.html]
This famous drawings of Pythagoras engaged in testing the relationships of music and numbers date from a 1492 book of Gaffurius: Theorica Musices, Milan, 1492.
As the story goes, Pythagoras was passing a blacksmith's forge one day when he heard the sounds of the metal being hammered and realized that the hammering made different notes. When he weighed the hammers, he discovered that they were all ratios of each other.
The mathematical harmonies of the universe, diagram of the tablet held up for Pythagoras
"We shall therefore borrow all our Rules for the Finishing our Proportions, from the Musicians, who are the greatest Masters of this Sort of Numbers, and from those Things wherein Nature shows herself most excellent and compleat." Leon Battista Alberti (1407-1472)
The Nine Muses inspiring Arion, Orpheus and Pythagoras under the auspices of the Personified Air, source of all Harmony, 13th century, Public Library, Reims
Leonardo da Vinci
Leonardo da Vinci and the use of Albertis musical ratios: diapason or double square including a central square between two half squares [diagram by Charles Bouleau]
The form of perspective as a medium for the creation of other forms. Perspective [perspectiva ars "science of optics," from perspicere "inspect, look through] is an optical transform that implies a certain projective geometry. (Christopher W. Tyler) Perspective allows us to use a geometrical method - a visualization algorithm - for creating a visual equivalent on a two dimensional surface.
Algorithm - a step-by-step problem-solving procedure, especially an established, recursive computational procedure for solving a problem in a finite number of steps.
Paolo Uccello and the playful use of perspective [diagram by Stefan Arteni]
(www.kinemac.com)
(www.roanoke.edu)
Alberti described in De pictura the method by which to create a perspective projection, referred to as the construzione legittima or the veil. One of the concerns of perspective theoreticians such as Alberti and Piero della Francesca (1410/20-92), was to show that, when projected onto the perspective veil, proportional relationships in real or imaginary space were 'translated', so to speak, into corresponding proportional relationships on the two-dimensional plane. (David A. Vila Domini, "The Diminution of the Classical Column: Visual Sensibility in Antiquity and the Renaissance", Nexus Network Journal, vol. 5 no. 1 (Spring 2003), http://www.nexusjournal.com/VilaDomini.html)
True Grid Barry Smith Department of Philosophy, Center for Cognitive Science and NCGIA University at Buffalo, NY 14260, USA Alberti hereby anticipates contemporary work on so-called qualitative geometries.., which means: geometries based, not on abstract mathematical points, but rather on finite regions. Both his theory of perspective and his theory of the organization of marks or signs to form an istoria are formulated in qualitative-geometrical terms.
Nicolas Poussin, perspective as geometry: perspective and musical ratio constructs coincide [diagrams by Charles Bouleau]
Nicolas Poussin
Perspective as geometry: perspective embedded within a construct based on the rabatment of the shorter side [diagram by Charles Bouleau]
Relationship between the Fibonacci sequence and the Golden Rectangle [diagram by Alex Mabini ]
Fibonacci Form and Beyond Louis H. Kauffman Forma, Vol. 19 (No. 4), pp. 315-334, 2004
Abstract. This paper develops a context for the well-known Fibonacci sequence (1, 1, 2, 3, 5, 8, 13, ...) in terms of self-referential forms and a basis for mathematics in terms of distinctions that is harmonious with G. Spencer-Brown's Laws of Form and Heinz von Foerster's notion of an eigenform. The paper begins with a new characterization of the infinite decomposition of a rectangle into squares that is characteristic of the golden rectangle. The paper discusses key reentry forms that include the Fibonacci form, and the paper ends with a discussion of the structure of the "Fibonacci anyons" a bit of mathematical physics that relates to the quantum theory of the self-interaction of the marked state of a distinction.
Complexity and Chaos Theory in Art by Jay Kappraff www.mi.sanu.ac.yu/vismath/jaynew/index.html G. Spencer Brown in his book Laws of Form has created a symbolic language that expresses these ideas and is sensitive to them. Kauffman has extended Spencer-Browns language to exhibit how a rich world of periodicities, waveforms and interference phenomena is inherent in the simple act of distinction, the making of a mark on a sheet of paper so as to distinguish between self and non-self or in and outThere is nothing new about this idea since our number system with all of its complexity is in fact derived from the empty set. We conceptualize the empty set by framing nothing and then throwing away the frame. The frame is the mark of distinction.
Pentagon, pentagram, Pythagorean triangle, and golden section [diagram by Gyorgy Doczi]
homo ad circulum [H. C. Agrippa, De Philosophia Occulta, Book II, Ch. 27]
homo ad quadratum [H. C. Agrippa, De Philosophia Occulta, Book II, Ch. 27]
Hermeticism, astrology, analogy between man and macrocosm [from Maurizio Elettrico, www.airesis.net]
Albrecht Drer,
anatomical proportions
Giovanni di Stefano, Hermes Trismegistus and two pupils, 1481-1485, marble intarsio on the floor of the Siena Duomo
The study of numbers and ratios were another aspect of hermetic study
Marsilio Ficino, head of Platos Academy at Florence, student of neoplatonic philosophy, the arts of astrology, and the Hermetic Corpus
Allegorical emblems
Limbourg Brothers, Les Trs Riches Heures du Duc de Berry, Anatomical Man as an analogy between zodiac and human body or microcosm as reflection of the macrocosm
Leonardo da Vinci
Lorenzo Spirito, "Wheel of Fortune with the Zodiac Sign of the Moon" in Libro de la Ventura (Book of Fortune), Milan: 1508 [The Library of Congress]
Giulio Romano [Giulio Pippi di Pietro de'Gianuzzi], Palazzo del Te, Mantova
Giulio Romano (Giulio Pippi di Pietro de'Gianuzzi), Rome, Palazzo Zuccari, Europa, before 1524
Francesco Colonna Hypnerotomachia Poliphili (Poliphilo's Dream about the Strife of Love) Venice, 1499
"Like every real dream, the Hypnerotomachia is Janus-headed; it is a picture of the Middle Ages just beginning to turn into modern times by way of the Renaissance - a transition between two eras, and therefore deeply interesting to the world of today, which is still more transitional in character." C.G. Jung
Ovidian stories linked to allegorical readings - pagan lore as historia poetica defined as wrapping truths in obscurity (obscuris vera involvens) - formed one of the most popular subjects.
Illustration to the 4th Book of Ovids Metamorphoses Venus, Mars, Vulcanus , Virgil Solis, Edition 1581
Illustration to the 4th Book of Ovids Metamorphoses Perseus and Andromeda, Ferrando Bertelli, 1565
Illustration to the 4th Book of Ovids Metamorphoses Perseus and Andromeda, Johann Ulrich Krauss, Edition 1690
Illustration to the 6th Book of Ovids Metamorphoses - Minerva and Arachne, Edition: Lyon 1510
Illustration to the 6th Book of Ovids Metamorphoses Minerva and Arachne, Ludovico Dolce, 1558
Alchemy
Ouroboros is an ancient alchemy symbol depicting a snake or dragon swallowing its own tail, constantly creating itself and forming a circle. It is the Opus, the Wheel of Time - The Alchemy Wheel and Francisco Varela selected the Ouroboros as an emblem for autopoiesis
AutopoiesisThe process whereby an organization produces itself. An autopoietic organization is an autonomous and self-maintaining unity which contains component-producing processes. The components, through their interaction, generate recursively the same network of processes which produced them. Francisco Varela
Image of Alchimia, the embodiment of Alchemy. Woodcut published by Leonhard Thurneysser in 1574. Thurneysser was a student of Paracelsus.
calcination
dissolution
separation
conjunction
fermentation
distillation
coagulation
[from www.alchemylab.com/laboratory_artwork.htm]
The Studiolo of Francesco I de Medici had as its principal theme the dynamic relationship between the four elements, the four seasons, and the four temperaments.
A work from the Studiolo of Francesco I: Giovanni Stradano (Jan Van der Straet), Alchemy Laboratory
Clio, muse of history. Her symbols are a laurel wreath and a scroll.
Paracelsus [Aureolus Philippus Theophrastus Bombastus von Hohenheim], 1493, near Zurich - 1541, Salzburg, alchemist, physician & surgeon, inventor of iatrochemistry
Physician, carried out research on technical aspects of painting and collected recipes and instructions from Rubens, Daniel Mijtens and Anthony van Dyck contained in Pictoria sculptoria et quae
subalternarum artium
Sir Anthony van Dyck, Selfportrait ['My best pupil', is how Rubens praised Anthony van Dyck]
Paul Pontius, Portrait of Daniel Mijtens (after Sir Anthony Van Dyck)
Daniel Mijtens (known in England as Daniel Mytens the Elder), Portrait of Charles I
Jan van der Straet (Stradanus or Giovanni Stradano), Painters Studio, engraving by J.B.Collaert
Details of Jan van der Straets Painters Studio [from Kees Kaldenbach]
Palette of Delacroix
Pigment manufacturing: Rosso un colore che si chiama minio, il quale artificiato per archimia. [Red is a color called minium which is artfully manufactured by means of alchemy.] Il libro dell'arte, or Trattato della pittura by Cennino Cennini da Colle di Valdelsa Separation of the pure essence of a substance from its impurities: distillation, oil extraction by cold pressing, oil purifying and bleaching
Late in the 15th Century the publication of The Great Surgery Book by Paracelsus described a fifth element, "quinta essentia" or essential oil, which he called the soul of the plant, and which has therapeutic quality.
Oil of Spike Lavender, an Essential Oil used in Painting Oil of Spike Lavender is one of the oldest known turpentine substitutes. It is the essential oil from the lavender plant and possesses a most wonderful scent. It evaporates more slowly than turpentine and is nonflammable. Since it is slower drying than turpentine, it is occasionally used to slow the drying time of oil paint. (Excerpt from ART HARDWARE: The Definitive Guide to Artists Materials, by Steven Saitzyk 1987)
Jacques BLOCKX Fils s.a. [www.blockx.be] Samples from Stefan Artenis collection
The light color of both oils is quite remarkable, given that the samples have been stored in the dark for many years.
Jacques BLOCKX Fils s.a. [www.blockx.be] Samples from Stefan Artenis collection
Blockx Amber Varnish [left] It contains 36% pure dissolved amber resin36% purified poppyseed oil and 28% turpentine. [From DickBlick.com]
Amber Painting Solution [right] Formulated with 57% amber varnish, 16% spike spirit and 27% poppyseed oil. [From DickBlick.com]
Venetian Grinds The secret behind Italian Renaissance painters' brilliant palettes By Alexandra Goho From Science News, Vol. 167, No. 11, March 12, 2005, p. 168.
[Conservators] found a variety of types of glass particles mixed with the paint. Upon closer examination, [Barbara] Berrie saw that the silica represented a high-quality form routinely used by Venetian glassmakers. During the Renaissance, they obtained it from quartzite pebbles along the Ticino River in northern Italy. They would then grind the quartzite into a fine powder, says Berrie, who presented her findings at the Materials Research Society meeting in Boston last December. "For the Venetians to be able to use this ultrapure source of silica was a real technological innovation," says [Jennifer] Mass. Traditionally, glass was made from sand, which is loaded with impurities such as iron. The iron gives glass a green tint. Using pure silica, helped Venetian glassmakers to create their colorless cristallo. Now, it appears that painters used glass to expand their choice of colors. For example, in Lotto's 1523 "The Nativity," Berrie found yellow glass particles in a sample taken from Joseph's orange robe. Unlike lead-tin yellow, the particles included antimony and potassium, as well as lead. The antimony gave the glass a hint of orange that would have enabled Lotto to achieve a warm tone, says Berrie. Claudio Seccaroni of the Italian National Agency for New Technologies, Energy, and the Environment (ENEA) in Rome analyzed dozens of Perugino's works using a technique called X-ray fluorescence analysis. With this method, which does not require the removal of paint samples, Seccaroni and his colleagues detected significant amounts of manganese associated with layers of red lake. Normally, lake pigments do not include manganese, but that element was a standard ingredient in common colorless glass formulations. Coincidentally, manganese is a drying agent. [Barbara Berrie is a conservation scientist at the National Gallery of Art in Washington, D.C., Jennifer Mass heads the conservation-science lab at Winterthur Museum] Note by Stefan Arteni: Smalt [potassium glass containing cobalt] is ground glass of blue color and was the earliest of the cobalt pigments. De Mayerne mentions ground Venice glass used as drier. It is quite possible that Venetian artists have used a wider variety of ground glass as pigment and/or drier than previously known. However, there is another interesting question. Present day texturing mediums incorporate high-grade silica. Did the Venetians use pure ground silica finely ground glass - for the same purpose?
During his second trip to Italy, Velzquez purchased this series of the Old Testament, painted by Tintoretto in 1555.
Parmigianino (Girolamo Francesco Mazzola), Saletta di Diana e Atteone, Fontanellato, Rocca Sanvitale [from www.parmigianino2003.it]
Parmigianino (Girolamo Francesco Mazzola), Saletta di Diana e Atteone, Fontanellato, Rocca Sanvitale [from www.parmigianino2003.it]
Parmigianino (Girolamo Francesco Mazzola), Parma, Chiesa di Santa Maria della Steccata [from www.parmigianino2003.it]
Parmigianino (Girolamo Francesco Mazzola), Parma, Chiesa di Santa Maria della Steccata [from www.parmigianino2003.it]
Parmigianino (Girolamo Francesco Mazzola), Parma, Chiesa di San Giovanni Evangelista [from www.parmigianino2003.it]
Parmigianino (Girolamo Francesco Mazzola), Parma, Chiesa di San Giovanni Evangelista [from www.parmigianino2003.it]
Paint Alchemy
Burgundy, Martailly-Ls-Brancion (Sane-et-Loire), Brancion church. The paintings of the church were made between 1325 and 1330 apparently in a glue medium (distemper).
Dierick Bouts, c. 1450, The Entombment, National Gallery, London. Painted in glue size on linen.
Dierick Bouts, Flemish, 1450 1455, 35 7/16 x 29 3/8 in, Getty Museum. The muted and translucent colors are due to the use of a glue medium distemper - applied directly to the sized linen.
Dierick Bouts, Resurrection, 1450-60, glue size on canvas, 89 x 72.5 cm, Norton Simon Museum of Art, Pasadena
Andrea Mantegna, The Holy Family With Saint Elizabeth and the Infant Saint John the Baptist, glue size on canvas, Kimbell Art Museum, Fort Worth, Texas [on the right, detail of the painting]
Andrea Mantegna, Ecce Homo, glue size on canvas, Muse Jacquemart-Andr, Paris
Albrecht Drer, Head of a young man, about 1506. Glue size painting on a sketch in ink or black chalk, on fine canvas mounted to paper, 225 x 192 mm, Paris, Biblioteque Nationale
Albrecht Drer, c. 1520. Distemper on canvas. 25.5 x 21.5 cm, Bibliothque Nationale, Paris.
Edouard Vuillard, Portrait of Ker-Xavier Roussel, 1936. Glue medium on paper mounted on canvas, 124 x 142 cm, Muse dArt Moderne de la Ville de Pars, Pars
Pablo Picasso, Theatre curtain for Parade, glue size on canvas, 10.500m x 16.400m, Centre Georges Pompidou, Paris
Pablo Picasso, Theatre curtain for Mercure, glue size on canvas, 3.920m x 5.010m, Centre Georges Pompidou, Paris
Gino Severini
Still Life with Mandolin , 1920,gouache on paper mounted on canvas, 32.5 x 50 cm Study for the mosaic - L'UNIVERSITA DI FRIBURGO E IL SUO IRRAGGIAMENTO 1949, gouache on cardboard, 45.5x67.5 cm
Composition,1954, gouache on paper glued to cardboard, cm 21x38 L'Italia, 1914, gouache on paper, cm 43.5x28.8
Mario Sironi
Finest Artists Gouache, series 12 In the past, the product used to be called: Knstler-Tempera, feinste Gummi-Leim Tempera Sorte 12 [Artists Tempera, finest Gum-glue size Tempera series 12] or Feinste Knstler- & Designer Gouache Sorte 12 [Finest Artists and Designers Gouache] There also were two mediums: Ei-Tempera Malmittel [Egg tempera painting medium] and Tempera-Malmittel 12 (Gummi-Leim Bindemittel) [Tempera painting medium 12 (gum-glue size binding medium)] The natural diverse opacity of pigments was not increased artificially by additives. Therefore the paint did not darken upon varnishing or overpainting with oil. Unfortunately, the range of colors has been drastically reduced recently.
Schmincke
Only the unfinished works, because uncompletable, solicit us to muse upon the essence of art. Emile Cioran
Byzantine Icon
Pisanello
(Antonio Puccio Pisano),
fresco fragment
Leonardo da Vinci
Leonardo da Vinci
Michelangelo Buonarroti
Edouard Manet
Mario Sironi
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The Alchemy metaphor refers to the creation of something out of nothing (e.g. George Spencer-Browns initial mark as the root of form) or to the transformation of a substance of less value into a different substance of more value (e.g. the turning of colored powdered matter into valuable paint by mixing it with a liquid, or the turning of paint applied to a support into art.)
Portrait of a Noblewoman, Probably Isabella of Portugal (13971472), mid-15th century Netherlandish Painter Oil on wood; Overall 13 5/8 x 10 5/8 in. (34.6 x 27 cm), with added strips of 1/8 in. (0.3 cm) at each side, Metropolitan Museum of Art, New York
S.Trismosin Splendor Solis (1582) The alchemistic union, symbolized by the peacocks tail (compresence of colors) and music (harmony), is achieved under the sign of Venus.
Deposition by DANIELE DA VOLTERRA [before restoration] Deposition by DANIELE DA VOLTERRA [after restoration]
"A painting is made of paintpaint has its own logic and its own meanings even before it is shaped into the head of a Madonna. To an artist, a picture is both a sum of ideas and a blurry memory of 'pushing paint,' breathing fumes, dripping oils and wiping brushes, smearing and diluting and mixingpainting is alchemy. Alchemy is the art that knows how to make a substance no formula can describe." James Elkins, What Painting Is, Routledge
Masolino da Panicale
Masolino da Panicale
Lorenzo Lotto
Jan Vermeer
Jan Vermeer
Jan Vermeer
Andr Lhote writes of the function of "screens" in the composed landscape: "This mechanical system of light on dark, dark on light, animates all the great traditional landscapes. . . . If a light plane pushes forward the dark plane in front of it . . . a succession of waves is started up. . . an incessantmovement of values which cancel each other out only after they have given the spectator the sensation of depth. Such a system of staging the landscape is evidently a consummate contrivance of artifice, especially when the artist subordinates the landscape motif to the figures.
Grard David
Grard David
Dierick Bouts
Vittore Carpaccio
Vittore Carpaccio
Giovanni BELLINI
Giovanni BELLINI
Giovanni BELLINI
Lorenzo Lotto
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio
Joachim Patinir
Joachim Patinir
Joachim Patinir
Albrecht Altdorfer
Albrecht Altdorfer
Nicolas Poussin
Nicolas Poussin
Nicolas Poussin
Nicolas Poussin
Nicolas Poussin
Nicolas Poussin
Claude Lorrain
Claude Lorrain
Antonio Carracci
Annibale CARRACCI
Aelbert Cuyp
Jan Vermeer
Philips Koninck
Philips Koninck
Philips Koninck
Philips Koninck
Jean-Baptiste-Camille Corot
Jean-Baptiste-Camille Corot
Flix Vallotton
Flix Vallotton
Flix Vallotton
Flix Vallotton
Flix Vallotton
Flix Vallotton
Albert Marquet
Albert Marquet
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Paul Gauguin
Paul Gauguin
Paul Gauguin
Paul Gauguin
Paul Gauguin
Paul Gauguin
Paul Gauguin
Paul Srusier
Paul Srusier
Paul Srusier
Paul Srusier
Paul Srusier
Paul Srusier
Paul Srusier
Jean Metzinger
Milton Avery
Milton Avery
Milton Avery
Milton Avery
Georges Braque
Georges Braque
Georges Braque
Georges Braque
Raoul Dufy
Raoul Dufy
Raoul Dufy
Raoul Dufy
Raoul Dufy